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OLD SWEDE'S CHURCH IN MOONLIGHT - Limited Edition of 5 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 11 W x 14 H x 1 D in

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About The Artwork

This Second Editionetching was based on my original drawings made from a family photograph taken by my Great-Great Maternal Aunt Victoria who lived on Alfred’s Alley in Philadelphia. She shot the black and white photo between 1938 and 1940 with a 35mm Kodak camera at night in mid-winter and developed the print in her Olde City photographic studio near Second and Arch Streets. The etching is executed in a blend of French, oil-based inks and printed on RivesBFK white paper. This work is from the 2nd of 4 Edition, and each edition is limited to only five etchings. I used a Charles Brand industrial floor press that was manufactured in New York City. The image size is 6” wide by 8” high, and the etching comes with a frame, archival mat and kraft paper frame backing glued in place. The frame measures between 11 to 12 inches wide by 14 to 15 inches high. This work was printed at The Center for Works on Paper at 705 Christian Street within the Open Studio for Printmaking. This is a part of the Fleisher Art School, located on the 700 Block of Catharine Street, and is associated with The Philadelphia Museum of Art. This edition employed dark black ink on white paper; each of the other three editions of five etchings will be executed in different color ink and paper color combinations. The studio techniques used included intaglio and aquatint. The historic building in Di Falco’s etching was constructed in 1698 and dedicated in 1700 as Gloria Dei Church, also called Old Swedes’ Church. The area near the Delaware River was called “Wicaco” by the indigenous peoples; This Native American word implied that the wooded area attracted many peaceful entities, both physical and spiritual. The following is quoted from THE GLORIA DEI OLD SWEDES’ CHURCH website (http://www.old-swedes.com): “The buildings of Gloria Dei border the cemetery on three sides, with the church to the east (closest to the Delaware River); the rectory, parish hall and sexton's house to the north, and Roak house (containing church offices and meeting spaces) to the west. All buildings are of brick construction with entrances facing the cemetery. The rectory and the sexton's house were built in the 1830's, the parish hall in 1863 and Roak house (named for a past rector, John Craig Roak) in 1969. “Working in conjunction with the Swedish Colonial Society and our local Representative to Congress, William Barrett, Dr. John Craig Roak (rector 1933-1972) was able to have Gloria Dei designated an official Historic Site of the Department of the Interior of the US government in 1942 (before Independence Hall was so designated!). That legislation called for the federal government to give us "an appropriate setting," which eventually resulted in the removal of all non-church structures on the block (in the 1960's) - there had been houses along Christian Street and factories on the south end of the block - and the landscaping of the property, including construction of a perimeter wall (in the 1970's). The legislation also provided for our independence; the church is responsible for its own buildings, grounds and programs (no federal funding is provided).”

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:5

Size:11 W x 14 H x 1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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